These Soviet safety posters delivered their message in bold terms.
If you’ve ever been to a Disney theme park, you’ve undoubtedly seen the large posters showcasing some of the popular rides and attractions. Over the past sixty years, what started out as teasers for park guests have evolved into valued works of art. They transition from simple works with minimal design and color of the mid 1950s to finely-detailed full-color masterpieces that perfectly capture the tones and atmospheres of each attraction of the present day.
Poster Art of the Disney Parks compiles Disney theme park attraction posters from around the globe into one volume. The book is oversized for proper viewing of the full-page prints, which are rich in history, color, and detail. Each chapter is broken down into the different lands (Tomorrowland, Fantasyland, etc.) as well as two chapters dedicated to the Disney California Adventure park and the Tokyo DisneySea park.
The tome focuses strongly on the art with minimal text. There are a few paragraphs at the beginning of each chapter and a few captions to accompany the images, but beyond that, it’s an art-lover’s dream. There are so many poster images that even a hard-core fan of the Disney theme parks wouldn’t recognize all of them. Add to that the plethora of sketches, color samples, and poster variants, and you’ve got a 146-page book that is jam-packed with visual treats that will rekindle childhood memories of the Disney theme parks. – Robert Nava
Poster Art of the Disney Parks by Daniel Handke and Vanessa Hunt Disney Editions 2012, 144 pages, 11.2 x 14.2 x 0.8 inches $28 Buy one on Amazon
After the Russian Revolution in 1917, the Soviet Union was flooded with striking posters spreading communist propaganda. Read the rest
There's a new book out about Big O Posters, which grew out of the graphic design vision of Peter Ledeboer, the charismatic art director of the U.K. incarnation of music and counter-culture magazine Oz, published psychedelic, sci-fi, and fantasy posters from 1967 until 1980.
Originally promoted in the pages of Oz to sell readers full-size posters of the artwork they were enjoying in the magazine, the roster of Big O posters included some of the biggest names in rock art, from Martin Sharp (a pair of album covers for Cream) and Mati Klarwein (Santana’s “Abraxas”) to H.R. Giger (Emerson, Lake & Palmer’s “Brain Salad Surgery”) and Roger Dean (multiple covers for Yes). It’s a big, image-packed tale, which is why The Art of Big O, designed and published by Michael Fishel and written by Nigel Suckling, both of whom were Big O artists, feels so right. It, too, is big and image-packed, capturing both the atmosphere of the London graphic-design world of the 1960s and ’70s as well as the work itself, which is jammed into every nook and cranny of the hefty tome like so many posters tacked to the walls and ceiling of a teenager’s bedroom. The result is less a nostalgic trip down memory lane than a paean to the obsessives who produced and printed this often unapologetically obsessive art.
Mary O'Malley's "Bottom Feeders" sculpture-series depicts cups, teapots, plates, saucers and bowls that appear to have been recovered from the sea-bottom, covered in barnacles, coral, tentacles and crustaceans. Read the rest
Ben Marks of Collectors Weekly says: "We just published an interview with Zack Coutroulis, who has an amazing collection of vintage magic posters. Zack explains how many of the most popular magicians of the late 19th and early 20th centuries got their starts in vaudeville, sandwiched between song-and-dance acts and comedians. If the magicians got big enough to go out on their own, they'd produce lithographed posters to publicize their shows. While some of these posters were portraits of magicians such as Dante, Carter the Great, Kellar, and Thurston, often surrounded by devils and imps whispering dark-art secrets into their ears, other posters showcased particular illusions, such as the one of Harry Houdini performing the water-torture trick."
As the San Francisco Museum of Modern Art prepares to shutter its South of Market location for the next three years, during which it will spend almost half a billion dollars to more than double its size for the Doris and Donald Fisher Collection, the museum’s restaurant on Third Street closes out its more modest exhibition program with nine acrylic-on-canvas paintings by Chris Shaw, on view through June 3, 2013. Admission is free.
Best known locally for his rock posters, Shaw has used his swan-song time slot to present a series of vividly colored Madonnas, each based on Madonnas by such 15th century artists as Bellini, Botticelli, and Ambrogio de Predis. For Shaw, the Madonna is just another propaganda icon, a vessel to be filled up with whatever one is trying to sell. Read the rest
From the Instagram feed of hyper-talented Australian design/illustration duo We Buy Your Kids (aka Sonny Day and Biddy Maroney): the cover art for a 2008 split 7" vinyl by Cloud Control and Telekinesis! and poster for a 2012 Eleanor Friedberger concert. webuyyourkids on Instagram
A friend of Boing Boing introduced me to the work of artist Kii Arens this weekend. We visited his studio for a karaoke party. It was great. I love his work. You can buy it in reasonably affordable poster form, through his website: lalalandposters.com. I would like one of everything, please. Kii is on Twitter and Facebook. (Thanks, Alex!)
Ben Marks on the Retro-Futuristic World of Laurent Durieux.
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This year, 2013, has gotten off to an equally rousing start, beginning with the January release of a poster for Steven Spielberg’s 1975 thriller “Jaws.” Reportedly, the director himself liked Durieux’s design so much, he ordered 25 copies to give as gifts to his closest friends. Thanks to the buzz that followed Durieux’s “Jaws” (prices for prints from the original edition of 525, which cost $60 each, are now hovering around $200), anticipation is building among collectors, who are hoping a new Durieux will be included in Mondo’s annual Oscars drop during the Academy Awards broadcast on February 24, 2013.
One of my favorite parts about going on tours of laboratories are the signs and jokes that scientists post on office doors and lab walls. This gem comes from the Lawrence Berkeley National Laboratory.
The obvious question: How do you transport an infinite number of protons home from IKEA? Does that fit on the little cardboard roof rack? Read the rest
For a little over a year now, Tom Whalen has been Mondo’s go-to artist for contemporary movie posters of classic cartoons. Mondo, of course, is the Austin-based gig-style movie-poster publisher whose limited edition screenprints generally sell out within minutes of being offered online—these guys are literally printing money. Whalen, whose work can be seen at strongstuff.net, is the son of the Pennsylvania coal country, a working stiff who still holds a day job as an editorial illustrator for a medical publisher.
On Saturday March 10, Mondo will release “Duck Dodgers in the 24 1/2th Century,” its first Looney Tunes print. In another first, the print will be part of Mondo’s debut exhibition in its new gallery space at 4115 Guadalupe Street in Austin. The theme is Science Fiction, and there will be almost 40 pieces of original art and screenprints from more than 30 artists, including Whalen's "Duck Dodgers." Hours for the opening are 6-10pm.
Naturally, Whalen was tapped to come up with the image, probably because he’s been creating cartoon posters for Mondo since February of 2011, when the company’s first Disney piece was released. That largely black, white and silver screenprint imagined a poster for the 1928 Disney short “Steamboat Willie.” Printed by DL Screenprinting in Seattle, “Steamboat Willie” was published in an edition of 200, plus a variant of 60 that swapped silver for sepia, among other minor changes. We hear the edition size of the seven-color “Duck Dodgers” will be 320, and the price will be $40. Read the rest